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Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Luke Dunne, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

1999 was a great year for movies, with a host of massively successful (and cult) hits that would define cinema for a next generation. It was also home to some of the very worst: Wild Wild West, Jakob the Liar, Bicentennial Man. However, one bad movie towers about all the others. The Summer of ’99 season would not be complete without folding in the only film from that year to make the IMDb‘s storied Bottom 100 list.

Underneath a skyscraper in Los Angeles, there is nestled a terrible secret. A sinister laboratory is running grotesque experiments on children, hoping to crack open the key to universal knowledge. Only one person can stop them. One of these so-called “baby geniuses”, the self-described “Sly Man”, embarks on a rip-roaring race against time to stop the sinister machinations of his evil great aunt.

At time of recording, it was ranked 23rd on the Internet Movie Database‘s list of the worst movies of all-time.

It’s a very strange comparison to make, but the film that most obviously comes to mind when watching Jon Favreau’s The Lion King is Gus Van Sant’s infamous nineties remake of Psycho.

This is Favreau’s second “live action” adaptation of a classic Disney animated film, even if that descriptor is somewhat misleading. It might be more accurate to describe The Lion King (which was shot entirely in virtual reality) as “verisimilitudinous.” It is designed to approximate “live action”, rather than being live action itself. On that note, the film is a technical triumph. On the level of pure craft, The Lion King is a staggering accomplishment. It is a virtual reality film that is in many ways indistinguishable from reality itself. However, the onion has even more layers to it. It is a virtual reality film approximating the reality while meticulously and faithful reproducing a beloved animated film.

Join the cub.

As such, and much like Van Sant’s Psycho, there is an element of reflexive postmodernism to The Lion King. Both the Psycho and Lion King remakes feel more like conceptual art installations than movies in their own right. They are certainly more interesting as abstract objects than as actual stories. After all, the stories in question were so closely wedded to form and context the first time around that the idea of remaking them so literally and so faithfully seems absurd from a creative point of view. As such, the process of replication becomes intriguing of itself. Both Psycho and The Lion King are incredibly faithful copies that consciously lean into their uncanniness.

Favreau’s Lion King looks beautiful, but largely feels like a limit case. It is a certain approach to modern filmmaking taken to – and perhaps pushed beyond – its farthest extreme.